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“I’m definitely not ruling it out,” Booker told NBC News’ “Meet the Press” host Kristen Welker.
U.S. Senator Cory Booker isn’t ruling out a second run for president in the Democratic primary in 2028, the New Jersey lawmaker said during a recent interview.
“I’m definitely not ruling it out,” Booker told NBC News’ “Meet the Press” host Kristen Welker on Sunday. Interestingly, Booker says his new wife, Alexis Lewis, will play a major role in whether he decides to run for the White House again.
“She knows what’s at stake…we just want to be a part of a generation of Americans that helps to redeem the dream,” said the longtime politician, who married Lewis in November 2025. He added, “What I love about her is that she knows, as a partnership, we are better than we were before we met, and I’m excited about whatever challenges we may take on as a couple.”
While he is certainly open to running for president in two years, Booker noted that he is seeking reelection for his Senate seat this November, telling Welker, “I hope New Jersey will support me for another six years.”
Booker is currently promoting his new book, “Stand,” in which he lays out his vision for America’s future amid the great political divide and violence. The 56-year-old Democrat’s book tour continues to fuel speculation that he will launch a 2028 presidential campaign.
“This left-right divide is killing our country, and our adversaries know it. They come onto our social media and try to whip up hate in America,” said Booker, who has served in the U.S. Senate since 2013. “That is one of our biggest crises. It is time for a new vision of our country that’s far more uniting, that brings people together, doesn’t deepen divides.”
Another sign of Booker’s possible run for president is his significant fundraising. According to NBC News, Booker’s campaign account has raised $10 million. A major portion of that fundraising came as a result of Booker delivering the longest-ever Senate speech in April 2025 in opposition to several actions taken by the Trump administration. The 25-hour, 5-minute, and 59-second-long speech was hailed at the time as the kind of action voters wanted to see from Democrats, as President Donald Trump’s cuts to critical federal funding, including mass firings of federal workers, were quickly rebuked.
Booker told “Meet the Press” that he would like to see the Democratic Party move beyond being the party in opposition to Trump.
“The challenges on the horizon aren’t just this current crisis that Trump has caused. He shouldn’t be the main character of our narrative,” said Booker. “Right now, we have real challenges from new technologies like AI and robotics, new challenges that we need more unity in our country and a reminder that we are not each other’s enemies.”
Booker first ran for president in the crowded 2020 Democratic primary, which included then-Vice President Joe Biden, Bernie Sanders, Elizabeth Warren, Kamala Harris, Pete Buttigieg, and others. Booker suspended his campaign in January 2020, just weeks before the Iowa caucus, citing difficulties raising money. Prior to his election to the U.S. Senate, Booker served as mayor of Newark, New Jersey, where he served two terms.

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Glynn Turman and Dawnn Lewis will return among others from the show’s first run.
The band is getting back together. More of the original actors from A Different World are returning for the show’s reboot on Netflix. Dawnn Lewis and Glynn Turman, who played Jaleesa Vinson-Taylor and Col. Bradford Taylor, will play those same roles, Deadline reports.
Most of the show’s original cast are part of the new show, with notable exceptions Lisa Bonet and Marisa Tomei, who were on the sitcom’s first season and never returned. Loretta Devine is not part of the reboot so far, and Sinbad, who played Coach Walter Oakes, has been limited by a stroke, and it’s unknown if he’ll return.
Originally expected to be a vehicle for Bonet, The Cosby Show spinoff ultimately focused on Jasmine Guy’s Whitley Gilbert and Kadeem Hardison’s Dwayne Wayne characters and their fellow students at fictional HBCU Hillman College.
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A Different World ran six seasons on NBC from September 1987 to July 1993. It’s credited with renewing interest in HBCUs, developing a dedicated fanbase who enjoyed watching Black students navigate life at a Black college. It made stars of Guy and Hardison and cemented itself in pop culture lore with its popular cast, empowering story lines and celebrity guest stars.
“There couldn’t be a better time than now to reboot A Different World,” Allen said in a statement to Tudum. “Our show changed lives, tripled the enrollment of historically black colleges and gave a strong voice and platform for Young Black America. The incredible fresh young talent we have discovered, paired with the lovable audience favorite OGs makes this much-anticipated return a must-see on Netflix.” 

The ten-episode reboot, helmed by Felicia Pride, focuses on Deborah Wayne, the daughter of Gilbert and Wayne, who also attends Hillman. She’s played by Hell’s Kitchen star and Tony Award winner Mahleah Joi Moon, joined by Alijah Kai Haggins (daughter of Tichina Arnold and producer Carvin Haggins) as Rashida, Cornell Young playing Shaquille, Kennedi Reece, who’ll play Hazel, Jordan Aaron Hall as Amir, and Chibuikem Uche, who plays Kojo.
The new version of the sitcom focuses on Deborah acknowledging her parents’ legacy without being defined by it as she navigates her first years of independence. Original cast members making a comeback who have already been announced are Guy and Hardison, Jada Pinkett Smith, Cree Summer, and Darryl M. Bell.
Debbie Allen, who directed 83 episodes of A Different World, returns for three episodes this first season. Reggie Rock and Gina Prince Bythewood, writers on the original series, return as executive producers, along with Tom Warner.
A Different World is currently in production in Atlanta.
See social media’s reaction to the show’s return below

2 More Original ‘A Different World’ Cast Members Return To Hillman For Sequel was originally published on cassiuslife.com

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Olivia Dean dedicated her MOBO Album of the Year award to bell hooks and the many other Black feminists who have inspired her. 

Olivia Dean is in the bell hooks hive.
The 27-year-old UK pop star just swept the UK’s Music of Black Origin (MOBO) awards on Thursday, March 26, taking home three of the evening’s biggest awards, including Song of the Year, Album of the Year, and Best Female Act for her breakout hit sophomore album “The Art of Loving.” While accepting the award for Album of the Year, the “Man I Need” songstress dedicated the award to bell hooks and all of the black feminists who inspire her. 
“This album was really just born out of me wanting to write something about love, and really what it means to me and us loving each other,” she began during her speech after taking to the stage in a slinky sequin black halter gown, her hair in its usual sprawling array of dark loose curls. 
“And I want to just dedicate this, actually, to bell hooks and all the black feminists that inspire me to love better and love the people in my life,” she continued. “So thank you so much. I love everyone.”  
Dean, as fans may recall, kicks off “The Art of Loving (Intro)” by singing “gotta throw some paint” because “that’s what bell [hooks] would say.” From the beginning of that album to the flow of several of the tracks, including “Nice to Each Other,” it’s clear just how inspired the singer was by the late writer whose well-known works include the ever-popular title “All About Love: New Visions.” 
Taking the lyric from the beginning for instance, “gotta throw some paint,” encompasses the main themes from “All About Love” on how love is not a feeling but an action. At one point, hooks uses “throwing paint” as a metaphor to demonstrate that love requires action, effort, and some bravery to get started. The masterpiece can’t happen if the painter isn’t willing to throw some paint on the canvas. 
Willem Ward, the Capitol A&R who had a hand in her sophomore album, testified to the ways the Grammy winner is “intentional with everything she does” while speaking to The Guardian. He confirmed that while writing the album, the singer “was reading books by [authors such as] bell hooks, which were quite informative for her.”
While speaking to Rolling Stone UK magazine for their August/September issue, the “The Art Loving” artist revealed the album was partly in conversation with hooks’ writing.
“It’s in response to bell hooks’ All About Love, which I’m a huge fan of,” she admitted to the outlet. “There’s this passage in the book about the craft of loving one’s own life, and I thought, ‘I think I’m gonna call this album The Art of Loving.’”
Originally published in 1999, “All About Love,” the first part of the “Love Song to the Nation” trilogy, delves deep into the many types of love we may seek to foster in a lifetime and the ways many of us have been led astray in how to do so. In the work, hooks largely critiques the lack of a modern definition of “love” in contemporary culture. In addition to interrogating how we’ve been socialized and conditioned around love, she offers “love ethic,” a more tender approach based on care, respect, commitment, and trust. The trilogy also includes the titles “Salvation: Black People and Love” and “Communion: The Female Search for Love.”
A highly regarded work of feminist critique to this day, “All About Love” resurfaced in pop culture through a perfect storm of hooks’ death arriving in 2021 at age 69 in the middle of the COVID-19 pandemic after a year in which there was a national reckoning around the continued disenfranchisement of Black people in this country. As many new generations flocked to her work in spades at the beginning of the 2020s, it seems as though Dean was among them. 
“Love is something I have always been interested in,” Dean continued while in discussion with Rolling Stone UK. “For some reason, it’s seen as this mystical, untouchable thing that we’re all supposed to just have a go at and figure out. In ‘All About Love,’ bell hooks is like, imagine if we had a class in primary school that was, like, emotional studies? So that we could teach each other a bit of etiquette, and how to fill each other with care? I just wanted to do a deep-dive on love, to understand why I love the way that I do, and how I love other people.”
Dean hasn’t explicitly stated who else she’s been inspired by, but hooks herself was inspired by other Black feminists, including the poet Audre Lorde; the scholar Patricia Hill Collins was her contemporary; and there are others like the activist Angela Davis, as well as more contemporary writers like Roxane Gay. 
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Kanye West’s latest album “Bully” arrived over the weekend, raising eyebrows with a familiar provocative bravado.

Kanye West is thanking Martin Luther King Jr. for the ability to marry his wife.
The 48-year-old rapper kicked off his latest album, “Bully,” released on Saturday, March 28, with a track entitled “King” in which he muses over his legacy, fame, marriage to Bianca Censori, and praises the late Civil Rights icon, among other things.
“I brought a white queen to the altar // Couldn’t happen without Martin Luther,” he raps on the song.
However, before that, he explains, “Some of my loved ones turned to lost ones // the pain was blurring my thoughts up.”
The song, which lasts just barely over two minutes and is one of 18 on the new album, grapples with how his legacy has shifted in the public view in recent years amid public controversy, his high-profile battle with mental illness, and his penchant for provocation. It’s mildly self-reflective and offers an explanation for the chaos.
He is stating how he was struggling with his mental health and the grief of losing close connections before he brings up his wife, which, when heard or read together, it all feels less braggadocious more than him simply being honest.
When West married Censori, a former Yeezy designer, in December 2022, only weeks after finalizing his divorce from Kim Kardashian (whom he shares four children), it happened amid a peak era of controversy for the rapper that ultimately led to the collapse of his multi-million dollar empire and a bizarre turn into radical politics. 
While King’s civil-rights work helped create the broader climate of racial equality that made decisions like Loving v. Virginia possible, he was not directly involved in the case or the Supreme Court’s 1967 ruling that legalized interracial marriage nationwide. The MLK name drop could just be there because it thematically flows, frankly, and he also has a legacy that gets reevaluated (including his rumored romantic life).
The song is also interrogating what it means to be king, whether you earned the crown or shoved it on your head all on your own. Not unlike the song of the same title, with which he closes his last album “Vultures 1.” In that song, he very clearly is declaring he’s king, essentially, despite what anyone else thinks.
It looks like on “Bully,” we’re hearing from the “King” in the aftermath and learning just how that all went for him. Not well, it would seem. 
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Thousands of TSA agents and millions of travelers are caught in the middle of a political standoff still waiting for resolution.
Donald Trump signed an executive order to pay Transportation Security Administration workers after Congress failed to reach a deal to fund the Department of Homeland Security, as airport delays continue to escalate across the country.
According to WBUR, the move is aimed at easing long security lines caused by staffing shortages, with TSA agents working without pay for weeks. Trump described the situation as urgent, stating,
“America’s air travel system has reached its breaking point,” adding, “I have determined that these circumstances constitute an emergency situation compromising the Nation’s security.”
WBUR reports the administration plans to use funds with a “reasonable and logical nexus to TSA operations,” though the decision could face legal challenges since Congress is responsible for authorizing federal spending.
The Department of Homeland Security shutdown is set to hit 44 days, surpassing the previous 43 day record shutdown.
According to the BBC, the prolonged shutdown has already led to widespread disruptions at airports, with travelers facing hours long security lines and limited checkpoint availability.
Per the BBC, approximately 50,000 TSA agents have been working without pay since mid-February, leading to increased absences and resignations that are straining airport operations nationwide.
WBUR also states that more than 11.8% of TSA workers missed shifts in a single day, with some airports reporting callout rates exceeding 40%, and nearly 500 officers quitting during the shutdown.
The shutdown continues after the House and Senate passed competing funding bills, creating a stalemate just as lawmakers leave Washington for a two week recess.
According to WBUR, the Senate approved a compromise that would fund much of DHS, including TSA, FEMA, and the Coast Guard, but excluded Immigration and Customs Enforcement and Border Patrol to gain Democratic support.
BBC states that House Republicans rejected that deal, with Mike Johnson calling it “a joke” before advancing a separate House plan to fund DHS at current levels through May 22.
The House bill passed in a 213 to 203 vote, but Chuck Schumer has already deemed it “dead on arrival in the Senate.”
The central dispute revolves around immigration enforcement funding, with House Republicans insisting that any DHS deal must include funding for ICE.
According to the BBC, Johnson emphasized that Republicans will not support efforts that limit enforcement, stating, “Republicans are not going to be any part of any effort to reopen our borders or to stop immigration enforcement.”
Democrats have refused to fund ICE and Border Patrol without reforms, including requiring agents to wear identification, restricting raids in sensitive locations, and mandating judicial warrants before entering private property.
Hakeem Jeffries suggested a resolution is possible if the Senate compromise is brought to a vote, stating, 
“This could end, and should end, today.”
The collapse of the Senate deal has also exposed tension between Mike Johnson and John Thune, signaling fractures within Republican leadership.
According to the BBC, Thune placed blame on Democrats for the impasse, arguing their refusal to compromise has stalled DHS funding entirely.
While Trump’s executive action may provide temporary relief for TSA workers and travelers, it does not resolve the broader funding dispute.
With Congress in recess and both parties holding firm on immigration policy demands, the DHS shutdown shows no signs of ending soon, resulting in growing strains on federal workers and a travel system pushed to its limits.
It’s leaving thousands of TSA agents and millions of travelers caught in the middle of a political standoff still waiting for resolution.
Congress Fails To Pass Latest DHS Funding Bill, Trump Signs Order To Pay TSA Workers After Weeks Of Withheld Checks was originally published on bossip.com

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The comedy legend already has several iconic roles under his belt, from “In Living Color” to “Boomerang” and even Rev. Leon Lonnie Love on “Martin.” But two notable ’90s roles still escaped him.
David Alan Grier’s legacy in comedy is already stamped. “In Living Color,” “Boomerang,” his guest stints as characters like “Rev. Leon Lonnie Love,” and even his appearances on Broadway from “A Soldier’s Play,” for which he won a Tony Award. But even with those successes, he still turned down some roles that eventually became cultural phenomena.
During an interview on “Today with Jenna & Sheinelle,” Grier admitted he turned down the title character of Ace Ventura for “Ace Ventura: Pet Detective.” The role eventually went to his “In Living Color” co-star Jim Carrey but according to Grier, the script that he was given paled in comparison to the final version that ended up on screens and helped catapult Carrey into global stardom.
“I passed on it because it was a bad script,” he said. “What I didn’t see is what Jim saw, which was, ‘Can I do anything?’ He took that script, and he reinvented it. And that’s why it was so successful.”
With Carrey given the freedom to use his physical brand of comedy with the character, Ace Ventura became a smash hit in 1994, leading to one of the biggest years for a comedian at the time. Carrey would go on to star in “The Mask” and “Dumb and Dumber” that year, as “Ace Ventura” would lead to a sequel, an animated series and a made-for-TV spinoff. In sum, Carrey’s three films in 1994 would earn over $700 million at the box office and make him the first comedian ever to earn a $20 million payday for a single film.
Although “In Living Color” helped reshape the standard for sketch comedy on television, another series would become a smash success on NBC. That show was “Seinfeld.” Grier auditioned for the role of George Costanza, Jerry Seinfeld’s best friend, but couldn’t find a creative groove with Seinfeld; the role went to someone else.
“I auditioned for George Costanza,” Grier said. “And I read with Jerry, and it was like, ‘George, tell me about your day.’ And I’m like, ‘This man, he can’t act. It’s not funny. This will never be a hit.’”
Ultimately, Jason Alexander landed the role of Costanza, and “Seinfeld” ran for nine seasons on NBC. Still, it is not about every role you turn down but the roles you turn into gold. Grier is no stranger to hit comedies on NBC, having starred in “The Carmichael Show” and currently in “St. Denis Medical.”
But still, those are two bags he readily admits he “fumbled.”
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Law, who for years was synonymous with New York radio and helped launch Jesse Jackson’s 1984 presidential campaign, had been undergoing health issues.
Bob Law, a titan in Black radio with his “Night Talk” political show, has died, friends and family confirmed on Monday.
On social media, Rev. Al Sharpton penned a tribute to Law, praising him for his contributions and for the role “Night Talk” played in shaping Black American consciousness.
“Bob Law, a pioneer in National Black Talk radio, has passed away,” Sharpton wrote. “His unparalleled #NightTalk show was the political grapevine of Black America. He was one of a kind, a true representative and voice of Black radio.”

He continued, “He gave me my first radio program when I was 16, and he along with Hank Spann introduced me to James Brown. My personal relationship with him and his Queen, Muntu, ran deep and strong for over 50 years. I will miss him dearly.”
Bob Law, a pioneer in National Black Talk radio, has passed away. His unparalleled #NightTalk show was the political grapevine of Black America. He was one of a kind, a true representative and voice of Black radio.

He gave me my first radio program when I was 16, and he along… pic.twitter.com/svr2quZe9h
Law took “Night Talk” national in 1981 through the National Black Network. It was the first live nationally broadcast Black radio talk show in the country. In his youth, he served as the Student Nonviolent Coordinating Committee’s field secretary and later as a community affairs director at WWRL before being named program director.
“I’m one of the people who can truthfully say, I got my job through the Civil Rights Movement,” Law told John L. Hanson in 1992.
Throughout his 50-plus-year career, Law was outspoken about the state of Black radio while also speaking out on issues that kept the Black community top of mind. In a 2025 interview, he beamed about how “Night Talk” was the catalyst for the late Rev. Jesse Jackson‘s 1984 presidential campaign.
“It was ‘Night Talk’ that started the campaign ‘Run Jesse Run’ in 1984,” Law said. “Jesse Jackson came on the show every Tuesday night and we started talking about that on the air. Run Jesse Run. “Night Talk” was a major factor in that presidential campaign.”
When asked about the significance of “Night Talk,” Law championed its ability to bring people together.
“I think the most significant is establishing a sense of community nationally among the people who do respond to ‘Night Talk,’ he said at the time. “We have just completed the organization process of the National Economic Development Council. We have come together to raise money collectively for a number of issues, from saving Mound Bayou, Mississippi, from being auctioned off to a liver transplant for a Kansas City teenager. The national audience has seen that it is possible to work together as a national family. That sense of community has been one of the things we’ve been able to develop. We’ve raised a lot of issues and hopefully raised the consciousness of people who listen to us regularly.”
Among those offering condolences for Law was New York State Attorney General Letitia James.
“My heart is with the family and loved ones of Bob Law,” she wrote on Facebook. “Bob was a renowned radio talk show host and a tireless activist for the Black community, and his impact will continue to be felt for generations to come. May he rest in peace.”
Law is preceded in death by his wife, Muntu.
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From a headline-making Vogue Australia cover to a heartfelt nod to HBCU dreams, the Chicago Sky star is showing exactly what a modern WNBA superstar looks like.
If there’s any question about who’s shaping the current era of women’s basketball and beyond, Angel Reese is making her mark one headline at a time.
Over the past few days alone, the Chicago Sky forward has dominated conversations across sports, fashion, and culture. Taken together, it’s clear that Reese isn’t just building a career. She’s building a brand that stretches far beyond the hardwood.
Reese’s latest milestone? Landing the digital cover of Vogue Australia and doing it her way.
A post shared by Vogue Australia (@vogueaustralia)
The 23-year-old made history as the first female athlete to appear on a Vogue cover wearing her own signature sneaker, the Reebok AR1. Styled in a striking white fringe dress and paired with her kicks, the look was both high fashion and deeply personal, reinforcing her growing influence at the intersection of sport and style.
Images from the shoot, including a dramatic white feathered bodysuit by Mariam Seddiq, quickly circulated online after Reese shared them on social media. The message was clear: she’s not asking for space in fashion—she’s taking it.
This moment builds on an already historic run. After appearing on a winter 2025 Vogue cover and becoming the first professional athlete to walk in the Victoria’s Secret Fashion Show, Reese continues to redefine what visibility looks like for women athletes.
Even the WNBA took notice, commenting “Changing the game” under her post—a nod to her growing cultural impact.
While the fashion world is paying attention, Reese’s foundation remains basketball.
Since entering the league, she’s quickly developed into one of its most productive young stars, averaging 14.1 points and 12.9 rebounds across her first 64 games. She’s led the league in rebounding in back-to-back seasons and became the fastest player in WNBA history to reach 500 points and 500 rebounds.
Before that, she was already a household name in college basketball, helping lead LSU Tigers women’s basketball to national prominence under head coach Kim Mulkey. Her journey from a top-ranked recruit out of Maryland to a pro standout has been as strategic as it has been explosive.
This offseason, Reese also added international experience to her résumé, representing Team USA in the FIBA Women’s World Cup Qualifying Tournament.
But beyond stats and style, it was Reese’s recent comments about HBCUs that added another layer to her already multidimensional moment.
While attending HBCU Awarefest in Atlanta, she revealed that her dream school was Howard University, a choice rooted in both culture and proximity to her Maryland upbringing.
A post shared by Daily Angel Reese content (@angelreese._daily)
“I always wanted to go to Howard… I always wanted to go to an HBCU,” she shared, reflecting on the tension between that desire and the opportunities that came with playing at the Power Five level.
Reese ultimately chose to attend Maryland before transferring to LSU, a decision that helped launch her into national stardom. Still, her comments struck a chord, especially among HBCU supporters who often see top-tier Black athletes pulled toward larger programs despite deep cultural ties elsewhere.
The reaction online was mixed. Some applauded her honesty, while others questioned the timing. But within the HBCU community, the sentiment landed where it mattered.
Because when a star of Reese’s magnitude openly acknowledges that connection, it reinforces something many already know: the pull of HBCUs doesn’t disappear just because the path leads somewhere else.
Taken separately, any one of these headlines would be notable. Together, they paint a fuller picture of who Angel Reese is becoming.
She’s an elite athlete, yes. But also a cultural figure navigating identity, ambition, and visibility in real time.
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Sybil Wilkes breaks down the essential information you need to know on March 30, 2026.
In Sybil’s latest ‘What We Need to Know’ segment, she delivers the crucial updates that directly impact our lives. From ongoing travel chaos to concerning shifts in military leadership and global economic disruptions, Wilkes breaks down the critical stories shaping our everyday lives.

If you plan to travel soon, prepare for major delays at the airport. President Trump’s executive order to pay Transportation Security Administration (TSA) officers takes effect on Monday, March 30. Homeland Security Secretary Mark Wayne Mullen promised financial relief for these workers, many of whom have gone without pay since mid-February. Because of these long-standing payroll issues, staff shortages and high callout rates have created historic wait times during this peak spring break travel season. Major travel hubs like BWI, JFK, and ATL, frequent transit points for our community, now advise passengers to arrive up to five hours early. We must pack our patience and plan ahead to avoid missing flights.
IIn Washington, a controversial move at the Pentagon has raised alarms about diverse representation in military leadership. Defense Secretary Pete Hegseth recently intervened to block the promotions of four high-ranking Army officers—specifically, two Black men and two women who were on track to become one-star generals. Hegseth, who has openly criticized what he calls “woke” military culture, is reportedly removing senior leaders he views as ideologically incompatible with the current administration. While some officials claim this shifts the focus to meritocracy over diversity, critics point out that this sets a dangerous precedent. Politicizing the military promotion process directly threatens the inclusive journey our service members have fought so hard to achieve, potentially silencing empowering voices at the highest levels of command.
Overseas, the escalating conflict with Iran threatens to hit our wallets at home. The destruction of critical energy infrastructure has triggered a long-term economic crisis. A March 18 strike on Qatar’s Ras Laffan natural gas terminal wiped out 17% of the country’s export capacity. Experts estimate repairs could take up to five years. As a result, Brent crude oil prices have surged past $120 per barrel. Energy analysts warn that this systematic destruction of pipelines and refineries guarantees global financial strain for years to come. This forces developing nations to ration fuel and pushes gas prices higher at local pumps, directly impacting our community’s household budgets.

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The walls of the ancient city of Alexandria
© Charax Spasinou Project (Stuart Campbell 2017)
Excavations at an ancient “lost” city in Iraq recently rediscovered by archaeologists have been postponed due to the ongoing war in the region, Stefan Hauser, an archaeology professor at the University of Konstanz in Germany, tells The Art Newspaper. The city, named Alexandria on the Tigris—located near Basra, close to the border with Iran—was founded by Alexander the Great, the king of the ancient Greek kingdom of Macedon, in 324 BC. The results of recent research on the site were published by the University of Konstanz in January.
Hauser calls the “ill-advised” Israeli and US attack on Iran “a complete catastrophe” in many respects. “The Iraqi airspace is closed and there is hardly any other way to enter or leave the country. We were planning a campaign of geophysical work which had to be postponed. If we are lucky, we can apply again for autumn,” he says.
Given the geography of the site itself—flat, with the ruins below ground—the potential for the remains to be damaged in any conflict is low. However, the site was formerly used as a military camp and its wall as part of the second defensive line in the Iran-Iraq War (1980-89), Hauser says. “Mary Shepperson did a great study on this in which she documented 2,000 changes to the site’s surface due to trenches [and] tank protection,” he adds.
The University of Baghdad and the Iraqi Antiquities Authority had been planning a major conference for the end of March, the 71st Rencontre assyriologique internationale, which has now been cancelled due to the “security situation”, according to its website. During the current conflict, at least 82 people have been killed in Iraq and dozens injured, according to Iraqi health authorities.
Alexandria on the Tigris
Drone imagery and geophysical surveys have revealed that Alexandria on the Tigris was a key regional trade hub. Subsequent analysis using a cesium magnetometer—an instrument capable of non-invasively detecting anomalies in the Earth’s magnetic field caused by buried structures—identified four main civic areas of what turned out to be a giant metropolis across some 500km: a residential district, a palace, a river port with workshops and an agricultural irrigation system.
Abandoned in the third century when the Tigris River changed its course and sedimentation restricted port access, Alexandria on the Tigris was also known as Antiocheia in Susiana and subsequently Charax Spasinou (the rampart of Hyspaosines) after its re-establishment by a local ruler. The city languished in the desert until the mid-20th century when the researcher John Hansman reviewed aerial photographs and connected vestigial structures in an area known as Jebel Khayyaber, near Basra, and a description of Alexandria on the Tigris written in the first century by the Roman author Pliny the Elder. 
Columns from a palace on the site of Alexandria on the Tigris
© Charax Spasinou Project 2022 (Robert Killick)
Ongoing political and security issues, especially the Iran-Iraq War, made further research difficult. Then in 2014, the British researchers Jane Moon, Robert Killick and Stuart Campbell were allowed to access the site, albeit under tight security. They invited Hauser—one of the few experts in post-cuneiform Near Eastern archaeology—to join them.
A long history of neglect around the study of this historic period has compounded accessibility issues, according to Hauser, who is leading the Alexandria on the Tigris project. “When the various academic disciplines developed, the period between the end of cuneiform—more or less mid-first millennium BC and the advent of Islam—was sidelined,” he explains.
Hauser says this has changed in recent years, with a growing interest in post-cuneiform Near Eastern archaeology globally. However, he believes that the Arsacid (or “Parthian”) empire—which lasted from 250 BC-226 AD and was “the eastern equivalent/partner/sometimes enemy to Rome between 140 BC and 226 AD”—has often been misinterpreted as having poor internal organisation. Excavating Alexandria on the Tigris, the capital of one of its core provinces, will “help to validate its structure”, Hauser tells The Art Newspaper.
It is hoped that when further work in Alexandria on the Tigris is able to resume it “can and should help to rebalance our historical perspective” on the Arsacid Empire, Hauser says. “As a kind of reality test, it helps to demonstrate the might and organisation of the Arsacid Empire (the great unknown in the history of the Near East) and illustrates the intense connectivity of long-distance trade in antiquity—which, indeed, was the reason for Alexander to found this city in the first place.”
Scholar says the new discovery is “significant” as 233 objects are sent to the Iraq Museum
Worsening drought conditions have extended the period when the 3,400-year-old city of Zakhiku is above water, aiding archaeologists’ efforts to study and preserve the site
Cultural heritage officials are calling for greater protections of historic structures as the Siraji minaret in Basra is torn down for road expansion

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October Gallery Museum
Connecting People with Art since 1985
Copyright © 2026 Interactive One, LLC. All Rights Reserved.
The resolution was introduced by Ghana in response to efforts made by the Trump administration to minimize the history of slavery. 
On Wednesday, March 25, the United Nations (U.N.) voted on a resolution introduced by Ghana calling the trans-Atlantic slave trade the “gravest crime against humanity.” With the exception of Argentina, Israel, and, shocker, the United States, 123 nations voted in favor of the resolution.
According to the New York Times, the resolution also calls on the U.N.’s member nations to formally apologize for slavery and contribute to a reparations fund as “a concrete step towards remedying historical wrongs.” Ghana’s President John Mahama specifically called out the Trump administration’s attempts to whitewash the horrors of slavery before the resolution went to a vote. Mahama called the resolution “a safeguard against forgetting.”
One of the first steps President Donald Trump took upon taking office last year was signing an executive order explicitly designed to change how history is taught in national museums and parks. Upon signing the order, Trump said that the Smithsonian Institution focused too much on “how bad Slavery was” and not enough on America’s “brightness.” In the year since he signed the order, the U.S. government has tried to remove exhibits teaching about slavery from national parks and museums, while also reinstalling toppled Confederate monuments. 
So teaching about slavery is bad, but celebrating those who fought to maintain it is totally fine. 
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Dan Negrea, the U.S. ambassador to the United Nations Economic and Social Council, issued a statement explaining why the U.S. voted no on the resolution. “The United States has defined, long-standing objections to the framing of ‘reparatory justice’ and the ‘duty of reparation’ for historical wrongs,” Negrea wrote. 
“As stated at the outset of these negotiations, the United States also strongly objects to the resolution’s attempt to rank crimes against humanity in any type of hierarchy. The assertion that some crimes against humanity are less severe than others objectively diminishes the suffering of countless victims and survivors of other atrocities throughout history.” 
Negrea closed by pushing back on the notion that President Trump doesn’t care about Black people. “President Trump has done more for Black Americans than any other president,” he said. “He’s working tirelessly to deliver for them.” 
I mean, he’s certainly delivered higher prices for gas and food, made health care more expensive, made it harder for Black students to get into good schools, and lifted environmental regulations that were designed to protect low-income Black communities. Honestly, I would prefer it if Trump delivered a little less to the Black community at this point. 
The Guardian reports that, in addition to three no votes, there were 52 abstentions, including the UK and EU members. James Kariuki, the UK chargé d’affaires to the U.N., also issued a statement explaining that the UK abstained because it was “firmly of the view that we must not create a hierarchy of historical atrocities.”
“No single set of atrocities should be regarded as more or less significant than another,” Kariuki added.
Kyeretwie Osei, the head of programs of the economic, social, and cultural council at the African Union, pushed back against the idea that the resolution establishes a hierarchy of atrocities. “The main point is not to introduce a hierarchy of crimes,” Osei said. “It is rather an attempt to properly situate that particular chapter in history…how it was so world-breaking in its impact that it essentially created the platform for every atrocity and crime against humanity that then followed.”
While the resolution passed, it’s still unclear what “repertory justice” will look like and what, if any, next steps will follow. 
SEE ALSO:
Donald Trump Purges National Parks Of Slavery Exhibits
Courts Still Cite Cases Enforcing Enslavement Of Black People
Elon Musk Wants Children To Thank ‘Whites’ For Ending Slavery

US Votes Against UN Labeling Slavery ‘Gravest Crime Against Humanity’ was originally published on newsone.com
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The October Gallery Museum places art in the community. Here are partner locations where you can have an art experience.
Some locations art is installed inside buildings and visits are during regular business hours. Other locations are by appointment only. Schools are not open to the public. In addition, we have many outdoor installations that you can enjoy around the clock. Check each location below for details. Tours are available upon request. 215-352-3114.
Here are some of our patrons that have donated art and art related items installed as part of our Art in the Community program. Thanks!
Watson and Sonia Brown
Stephanie Daniel
Chad Cortez Everett
Gail Gaines
Dr. Darryl J. Ford
Kelly R. Harrison
Deborah Kelly
Betty Ann D. Lawrence
David Lawrence
Leon McDuffie
Michael Muhammad
Jay R. Ogilvie
Marjorie H. Ogilvie
Junious Rhone, Sr.
Robin Rhone
Shirley Rhone
April Rice
Karen Roach
Monica Rocha
Steve Satell
Deborah Stephens
Staci Watson 
Stephanie R. West
Horace Wright

Sign Up Now
Art and art related items may be returned to October Gallery in good condition within twenty (20) days of the purchase for store credit ONLY – unless otherwise stated on an invoice.
Items on layaway or even items paid for will be held by the gallery for no more than ninety (90) days from the original sale date. Refund is in store credit ONLY – unless other stated on an invoice.

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October Gallery Museum
Connecting People with Art since 1985
Soma Surovi Jannat’s In a Timeless Sweet Land (2023) Collection of the artist. © Soma Surovi Jannat
In this monthly column, Louisa Buck looks at how the art world is responding to the environmental and climate crisis.
There is no escape from the global consequences of climate change, but some countries are directly on the front line. With two thirds of its land less than five metres above sea level, the low-lying delta nation of Bangladesh is consistently singled out as one of the world’s most climate-vulnerable nations. According to recent research by John Hopkins University, rising sea levels could submerge 17% of its territory and 30% of its agricultural land by 2050, and this precariousness is ramped up by the fact that Bangladesh is one of the most populated countries in the world. And all this despite the fact that Bangladesh only contributes to a minute proportion of total global emissions.
The vulnerability of Bangladesh, the uniqueness of its terrain and the resilience of its population, together with the overarching links between natural disasters and social inequalities are all key subjects underpinning a show of paintings and drawings by Soma Surovi Jannat at the Ashmolean Museum in Oxford. Climate Culture Care is Dhaka-born Surovi’s first exhibition in the UK and is also the first solo exhibition of a Bangladesh-based artist to be held in a UK museum. 
Mainly created following a residency at the Ashmolean during the summer of 2023, Surovi’s 20 or so paintings and drawings—in one case made directly onto the museum’s walls—draw their inspiration from Bangladesh’s extensive Sundarbans mangrove forest as well as from the collections of the Ashmolean. 
Sundarbans—which translates to ‘the beautiful forest’—is a sprawling region shared between India and the south of Bangladesh that is laced by a network of river systems and is home to the world’s largest contiguous mangrove forest as well as a vast array of wildlife, including the endangered Bengal tiger. More than 13 million people also live in this World Heritage Site, where they are increasingly challenged by the evermore catastrophic symptoms of environmental degradation and climate change, most notably rising sea levels and resulting land salinisation. These pose a particular threat to the Sundari mangrove trees, the dominant species in the region, which have always offered essential protection for the Sundarbans with their intertwined roots forming a natural barrier against storms, as well as being able to sequester more carbon than most other tropical trees.
Soma Surovi Jannat’s Who Carries Whom? (2025) Collection of the artist. © Soma Surovi Jannat
As well as featuring the trees of the Sundarbans, Surovi’s work is rich in both human and animal imagery and often fuses the two in distorted, exaggerated figures, set against fantastical, dreamlike backgrounds. At the Ashmolean the flora and fauna of the Sundarbans forest is made to mix and morph with images taken from its stories and cultural traditions in tumultuous and richly detailed scenarios. In a series of eight ink and acrylic works on paper titled Where Every Leaf Holds a Tale (2023-24), for example, each piece replicates the shape of one of the Sundarbans’s now-shrinking archipelago of islands and sand bars. Across the surfaces of the works local creatures—from tigers to turtles, storks and shrimps—mingle and form odd alliances with folkloric figures such as Bonbibi, the region’s main forest deity, as well as humans and gods from the Hindu pantheon. 
Throughout the show, a close examination of the Ashmolean’s collections—especially its holdings in works from Asia and the Indian subcontinent—is also strongly in evidence. In Surovi’s hands a terracotta plaque of a Yakshi (nature spirit) from the second century BC in the Ashmolean is reinterpreted as a giant, heavily pregnant Mother Nature figure who cradles a lifeless bird between her breasts while a mangrove shoot emerges from her navel and a roaring tiger is rammed between her legs. “Art, history and activism are deeply entwined… I am drawn to fragments—objects, memories, and landscapes—that carry traces of resilience, disruption or overlooked lives,” Surovi states in the exhibition catalogue. “For me each piece is a conversation across time, a way to honour what has been, and to imagine what might be.”
Throughout, Indian and Persian miniaturist techniques have clearly fed into the meticulous execution of her intricate crowds of cavorting, conjoined animal and human protagonists, while many of their forms show borrowings from specific pieces owned by the Ashmolean. These include a number of tumbling figures which owe their origins to an Indian gouache of street performers painted around 1790; and her menagerie of bizarre conjoined beasts, which corresponds to the grotesque inter-species creatures in a number of the Ashmolean’s 18th- and 19th-century Indian paintings. 
Soma Surovi Jannat’s Resensitizing the Brown Narrative (2023) Collection of the artist. © Soma Surovi Jannat
Surovi’s stated commitment to “amplifying silenced voices and to creating spaces where difficult truths can be faced with honesty and imagination” is made manifest in unexpected ways. Recent Google Map images of the Sundarbans’s murky polluted waters played a key part in influencing the choice of the dark brown backgrounds and tawny hues of many of these works, but issues of racial and caste identity and demarcations of social status based on skin colour also had a part to play. This is made most explicit in the ink, acrylic and gold leaf work Resensitizing the Brown Narrative (2023) which, in both its palette of browns and contorted figures holding symbolic objects, was in great part influenced by the Ashmolean’s collection of 19th-century unfired clay models representing members of different Indian castes. These miniature figures—men, women, children all carrying out different occupations—were created in colonial-era India as ‘exotic’ souvenirs for the European market, and the 200 or so owned by the Ashmolean were originally exhibited in the Colonial and Indian exhibition in London in 1886, supposedly to showcase the British Empire and its colonised peoples.
The Ashmolean’s problematic collection of Indian archetypes of all ages, trades and religious groups from across the entire subcontinent also feature in Surovi’s epic 30ft-long scroll Between the Sea and the Sky, Who Holds the Ground? (2025). This ambitious work addresses issues of displacement and climate migration and also how South Asian bodies have historically been framed. In one section of the scroll, boats float on dark polluted waters, carrying a multitude of ordinary folk, inspired by the Ashmolean’s colonial-era figures. Here they are reimagined as refugees, carrying the tools of their trade and fleeing from the environmental changes that were invariably first set in motion by the extractive actions of colonisation.
Yet Surovi also sees these beleaguered individuals as personifying human fortitude and versatility in the face of the trauma of migration. Across her scroll some figures morph into bees, which in turn evolve into processions of ants, both, like their human counterparts, overlooked and often maligned but also utterly crucial to the health of an ecosystem. Finally, the stream of ants goes deep into the hidden but essential network of tree roots that in the Sundarbans sustains and nourishes every aspect of this unique environment. In this important show of complex and richly metaphorical works, Surovi is not only highlighting the richness and fragility of a very particular part of the world but reminding us how, from Oxford to Bangladesh, everything is interconnected. Nothing exists in isolation and consequences cannot be escaped. The sooner we realise this, the more hope there is both for the Sundarbans and the planet in general. 
• Soma Surovi Jannat: Climate Culture Care, Ashmolean Museum, Oxford, 28 March-1 November
An exhibition at the Ashmolean Museum brings together 42 paintings, watercolours, artist books, photos and woodcuts made between 1969 and 1982—along with three new works
Independent scholar uncovers questionable provenance for the sculpture that the Oxford institution bought from Sotheby’s in 1967
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The October Gallery Museum places art in the community. Here are partner locations where you can have an art experience.
Some locations art is installed inside buildings and visits are during regular business hours. Other locations are by appointment only. Schools are not open to the public. In addition, we have many outdoor installations that you can enjoy around the clock. Check each location below for details. Tours are available upon request. 215-352-3114.
Here are some of our patrons that have donated art and art related items installed as part of our Art in the Community program. Thanks!
Watson and Sonia Brown
Stephanie Daniel
Chad Cortez Everett
Gail Gaines
Dr. Darryl J. Ford
Kelly R. Harrison
Deborah Kelly
Betty Ann D. Lawrence
David Lawrence
Leon McDuffie
Michael Muhammad
Jay R. Ogilvie
Marjorie H. Ogilvie
Junious Rhone, Sr.
Robin Rhone
Shirley Rhone
April Rice
Karen Roach
Monica Rocha
Steve Satell
Deborah Stephens
Staci Watson 
Stephanie R. West
Horace Wright

Sign Up Now
Art and art related items may be returned to October Gallery in good condition within twenty (20) days of the purchase for store credit ONLY – unless otherwise stated on an invoice.
Items on layaway or even items paid for will be held by the gallery for no more than ninety (90) days from the original sale date. Refund is in store credit ONLY – unless other stated on an invoice.

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March 29, 2026
The duo reached an impasse over the direction of the bow tie company, prompting them to close down.
A mother-and-son duo found success as e-commerce entrepreneurs with their bow tie business, but opted to hang it up to save their personal relationship.
Andrea Henderson and her then-teenaged son Roland first noticed a new fashion trend among men and boys, the bowtie. As they witnessed the dress accessory popularize, the two decided to strike gold themselves and launch an online business all about bowties.
In her op-ed to Business Inside does not name the business. But the two dived into the realm of Amazon’s private label market. They used the e-commerce platform as their main distributing hub, learning about how to SEO optimization to draw customers to their products. Alongside a fashion-forward approach to the traditional men’s formal accessory, the duo’s marketing strategy through Amazon worked to their benefit.
The mother-and-son played to their strengths, with the parent holding down operations as her child matriculated through school at a private HBCU. Roland, fulfilling his own dreams of becoming an entrepreneur, oversaw the creative elements, ensuring their bow tie assortments fit their wide-ranging customer base to drive growth.
Customers, however, were beyond their initial market of young college-aged men and professionals. Despite some unusual requests, they played to customers’ needs to maximize profits.
The money went toward sustaining Roland’s education at the historically Black institution, with additional revenue going back to the business. However, something else was growing between the bigger checks, a familial divide between its owners.
Their ideas for the future of the company brought hidden issues to the surface. While Roland had couture dreams for the company, Henderson preferred to scale outward instead of upward through a potential deal with Walmart.
After the constant disagreements that led to no resolution, Henderson came to her own realization about the real issue at hand. Each person had their own goals for the business and their role in it, and it was in direct contrast with the other.
As the strain grew deeper, alongside conversations for one to leave the company, the family decided to re-align their priorities back to one another. At the height of their business successful, they decided to shut down their bow tie brand.
The lesson, according to Henderson, is not one of loss. In fact, she considers the shut down her best business move yet, especially as she keeps Roland in her life. To both mother and son, launching a successful business deserves praise. However, their willingness to step away when it no longer served their personal relationship remains more important.
Now, she hopes others can learn from her story as they begin new ventures with family, emphasizing how success should never overshadow one’s love.
RELATED CONTENT: Mother And Son Elevate Black-Owned Beauty Supply Store With 7-Figure Expansion

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From vintage Dior to standout Mugler, we are obsessed.
Luxury Law is giving fans what they’ve been waiting for. He opened up his personal closet, offering a rare look inside his fashion archive. And it is everything.
Law Roach, the self-proclaimed “image architect,” invited Complex and fans into his Los Angeles space. His archive is packed with runway history, rare finds, and personal pieces.  His closet shows he is exactly who he says he is. 
From sculptural outerwear to collector-level vintage, his collection delivers. Each piece he flexed was better than the last.
“I just want to show y’all some of the important pieces in my collection that I like to keep close to me to play in,” Law said.
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He added with a laugh, “It’s so funny, because people assume that I got a lot of clothes—and they’re right.”
One of the first pieces we noticed was a sharp black Mugler jacket. Structured and sleek, it gave futuristic edge with everyday chic.
“I don’t know what season this is,” Law said while slipping it on. “But I just acquired this on my last trip to Paris. I just think this is so f—king good. I love this jacket.”
Then came the softness. A plush pink Alaïa coat that instantly brought nostalgia and fashion history together. Fans might recognize it from Vogue Paris, where Celine Dion wore the same look.
“This is Alaïa runway,” he explained. “I had to own it because it was my very first cover with Celine Dion, and she was wearing this coat.”
The fashion fabulousness kept coming. Law also pulled out a dramatic vintage Christian Dior piece originally worn by André Leon Talley. Heavy with history and presence, it immediately shifted the energy.
“This makes me want to cry,” Law said while modeling it. He added that it might need a Met Gala moment.
Also in the lineup, he showcased deep fashion pieces, including Givenchy by Riccardo Tisci from Fall 2016, a vintage Vivienne Westwood piece with bold gold button detailing, Comme des Garçons Homme Plus with unexpected color blocking, and Alexander McQueen Fall/Winter 2010, delivering signature drama.
Though the video clip was short, Law packed in a lot of fashion that we are obsessed with. Clearly, his archive is just as powerful as his red carpet moments. From dressing Zendaya into a global fashion force to pushing doors open for talents like Megan Thee Stallion and Ryan Destiny, his impact goes far beyond the rack.
If Law decides to open up his archive again, we’ll be there taking notes, gagging, and living our best lives.
Celebrity Stylist Law Roach Gives A Rare Look Inside His Fashion Archive – And It’s So Good was originally published on hellobeautiful.com

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The “Scandal” star said that in couples counseling, “you learn how to love each other better.”
What if counseling weren’t a last resort for couples whose marriage was on the rocks?
Kerry Washington says that she and her husband of 13 years, NFL player-turned-actor Nnamdi Asomugha, were proactive about couples therapy, and turned to the practice before there were any pressing issues to address in their marriage.
“We started couples therapy before anything was wrong … kind of preventatively,” she told Alex Cooper on the “Call Her Daddy” podcast.
“He was newer to therapy, I feel like I’ve been in therapy my whole life,” she said. “We were like, ‘We should just start having these conversations so that if something does get hard, we already have a culture of knowing how to talk about stuff.’”
She added, “I’m obsessed with couples therapy. It’s my favorite. It’s like part logistics meeting, part party, part date in the afternoon. I so look forward to it. We start every session with something that the other person did well. Like something that we appreciate about the other person.”
Washington called her therapy sessions with Asomugha “the best part of my week,” and said that she is often surprised by the comments he makes when they start their sessions with complimenting one another.
“So often the thing he shares with me that he appreciated—or the thing I share with him—it’s not something I would’ve guessed. It’s something that to me was small, but to him it meant a lot,” she said, adding that this part of the session helps them “learn how to love each other better.”
This tidbit about Washington and Asomugha’s marriage is a rare insight into the couple’s relationship, which has been kept mostly private despite having high-profile careers in TV, film, and sports. They married in 2013, after dating for four years, in a low-key ceremony held in Idaho. And they have two children together, a boy and a girl, and Washington is a stepmother to Asomugha’s daughter from a previous relationship.
In 2024, Washington told People Magazine, “I think just from the very beginning, Nnamdi and I have been really protective of our partnership and our relationship, because we wanted it to belong to us, and we found that we were able to define and create a relationship for ourselves and with each other outside of the public eye.”

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